Euroconte

Initiation à l'art de conter
2007-05-21 - 2022-05-23 | Bibliothéque Départementale d’Eure et Loire (28)
Qu’est – ce qu’un conte ? Dire les contes. Se servir des contes en bibliothèque et ailleurs.
Conférences de Marc Aubaret.

Les outils de la critique - Séminaire 7 - Appareil critique de l'art du conteur contemporain
2014-12-21 | Locaux du CMLO, 2, bd Louis Blanc- Espace André Chamson – Place Henri Barbusse -30100 Alès, 15, quai Boissier de Sauvages, ALES, Gard, 30100, France
Les outils de la critique de l’art du conteur contemporain – Séminaire 7
Construire un appareil critique c’est construire un ensemble de références historiques, critiques, archivistiques sur l’art en question de manière à ce que les personnes souhaitant s’intéresser à cet art puisse y trouver les éléments nécessaires pour situer un artiste par rapport aux critères passés et contemporains.
La difficulté de cet exercice est du au fait que jusqu’à présent peu de précautions ont été prises pour capter et conserver les diverses prestations des artistes conteurs. Peu de journaux spécialisés, peu de journaux généralistes, peu d’ouvrages ont produit des articles sur un artiste de façon systématique en tentant de le situer dans une oeuvre un peu globale.
Travailler sur une comparaison avec les autres arts nous amène à nous poser poser la question de la lisibilité du parcours de cet art. Une autre difficulté est d’envisager le corpus référent dans le sens ou celui-ci n’existe qu’en tant qu’oeuvres littéraires.
L’appareil critique répond à l’ outillage dont le critique pourra se servir pour étayer sa critique. Pour l’art du conte cet outillage est à constituer. La réflexion proposée pour la constitution des outils nécessaires de cet appareil critique, dégager les besoins et commencer à remplir la caisse à outils s’appuie sur document qui liste de A à G les points à interroger, base d’une grille qui devra être détaillée en sous catégorie.
Après présentation de la grille, chaque point de la grille proposée est approfondi en binôme.
A. Une histoire de l’art du conteur contemporain
Dans beaucoup de disciplines il y a eu mutation d’une pratique traditionnelle vers une pratique où l’individu est spectateur. Le conteur a été plus lent à faire cete mutation. Il se dit encore que tout le monde peut raconter. Hors il faut une technicité pour raconter à un grand groupe.
L’histoire peut permettre de comprendre où nous en sommes. On ne peut pas avoir un même discours si l’on veut changer les choses.
Les préalables – Les principales étapes
1. Fin du conte traditionnel, quelle date ? Quelles causes ? Sont évoquées : la mutation du monde rural, le passage rural/urbain des années 50, la perte des langues régionales, des pratiques des veillées (il n’est plus nécessaire de s’entre-aider pour les récoltes avec l’équipement mécanique des agriculteurs par ex.)
2. Mais avec la guerre 14/18, les contes ressurgissent. Entre les deux guerres, le racontage existe toujours. Grandes collectes des années 1930, vague ethnologique après les folkloristes du 19e siècle
3. 1960 : renouveau du conte. Avec la télévision, l’image, le conte entre dans l’espace médiatique et non plus les veillées (André Voisin, Chabrol …)
4. 1968/71 : mutation des arts : passage d’une pratique populaire collective à une pratique de « spectacle » (plus individuelle et professionnelle), déstructuration de l’espace, du relationnel. Encore une expression traditionnelle
5. Quelle est la spécificité du conte? Le conte : lieu d’une stabilité (compensation), pont entre passé et avenir
6. 1981 : Soutien politique; des moyens donnés à la culture, explosion du nombre de festivals, les bibliothèques (heure du conte) soutiennent les initiatives
7. 1980/1987 : Organisation de rencontres (Vannes, 1980), création de structures (CLIO en 1981, Les arts du récits en 1986, La maison du conte, Chevilly-Larue, Paroles d’Alès), les revues (Dire en 1987, Les Cahiers de Littérature orale en 1989)
8. 1989-1990 : les conteurs sur scène, théâtralisation, adaptation du conte à la scène (question sur les diversités des paroles) – Colloque « Le renouveau du conte ‘ et ouvrages sur cette thématique ( Geneviève Calame-Griaule, Les Cahiers de la Littérature Orale)
9. A partir de 1994/1995, regards différents des institutions publics et le conte est mis à l’écart faute de moyens et considéré comme du socio-culturel
10. Dans les années 2000, structuration avec création de Mondoral, organisation des conteurs (Apac et autres)
B. Le répertoire référent
Le répertoire à mettre en parallèle à l’histoire. l’histoire de cet art a été négligé. Les conteurs, gens de la performnce, n’ont pas capté leurs prestations. Il est important de regrouper les éléments pour une mémoire de la discipline, que les acteurs du conte gardent la mémoire de ce qui s’est passé. Lieu d’archives nécessaire pour la discipline.
1. Quelle relation au répertoire? Quelques uns ont reçu le conte par transmission orale. Choix par goût, lié à un contexte en lien avec les collectes qui ont fondé le répertoire. Des convictions, des parti-pris du conteur, non neutre.
2. Relation différente selon le type de collectes. L’ethnologue s’intéresse au contexte, important pour lui-même. Quel matériel possède le conteur ? S’il ne connaît pas le contexte il est déconnecté des représentations qui font sens.
3. Que dois-je transmettre ? Fidélité, responsabilité, ce qui n’empêche pas l’artistique
4. Quel est son parti-pris ? Il choisit ou espace sensible pour volonté poétique, ou se servir d’un répertoire pour dire sa vision du monde, ou créer son récit.
C. Les acteurs
1. Artistes : quelles sont leurs difficultés, rassembler pour discuter ensemble et faire émerger quelque chose plus proche du réel
2. Institutionnels, politique, financiers : impact des orientations des institutions responsables de l’argent public, structures subventionnées, ré-orientation de la pratique par missions attendues
3. Les structures : réseau des bibliothèques et univers du livre, structures décentralisées, diversité des lieux de diffusion
4. Les médias : profusion et difficulté de s’y retrouver, qualité du discours sur le conte ? Peu d’articles
5. Les archives
D. Analyse des œuvres
1. A partir des matériaux archives disponibles (vidéos, audios, entretiens avec les conteurs…)
2. Question à poser : pourquoi cette histoire, quel rapport intime avec elle?Est-ce que le public présent change la préparation, la manière de raconter ?
3. Comment travaille le conteur ? Représente-t-il les émotions ? Quel rapport ave l’image mental, la poésie ?
4. Comment le conteur est-il vu par son public ? Comparer avec le projet de l’artiste.
5. Responsabilité du critique : les descriptions des spectacles orientent le public. Les bons critiques devraient nous donner envie de voir des choses que nous ne connaissons pas.
6. Première lecture, préparation, restitution, comment le public le reçoit? Plusieurs jours après, plus tard ?
7. Relation du conteur à l’image mentale, images passives, images dynamiques; la relation est différentes à l’image suivant les arts.
8. Consulter articles (cf.IMEC Institut de l’Edition Contemporaine à Caen), revues
E. Un ensemble de définitions des différents styles et partis pris
1. Traditionnel : comment une forme peut maître d’une intention ?
2. Populaire : à qui je m’adresse, à tous, à mes pairs ? Culture préalable ?
3. Théâtralité : scène le plus souvent
4. Littéraire : amour de la langue, qualité qui n’est plus dans le naturel ?
F. Une analyse des formes rattachées et/ou contestées
G. Une bibliographie de référence
Note complémentaire. Les archives
Importance des archives pour étudier où en est l’artiste, garder le matériel, affiches, son, vidéo… et le déposer (voir IMEC, service des archives(communes, départements, structures….). Actuellement les outils sont diffus. Important de la conservation des archives.
Art naissant, l’art du conte a oublié de conserver contrairement aux autres arts (cirque, par ex), relation au spectacle vivant ? Le conte « parole naturelle » n’a pas incité à la conservation.
Encore temps (50 ans d’histoire) de récupérer ou reconstituer des archives dans beaucoup de lieux éparpillés (institutions, individuels, structures, communes, festival ou animations, radios…) et demander de l’aide pour traiter ces infos.
Par exemple, les archives de « Parole d’Alès » ont été déposées aux archives municipales de la ville d’Alès. Une étude du Clio (1988/1989), questionnaire aux conteurs, les Arts du récit l’ont fait aussi (Pascal Quéré)
Les films, vidéos sont des outils de captation des spectacles, des prestations, qui ont leur intérêt dans un but autre que celui de la promotion. Beaucoup de vidéos existent déjà. Acceptation de se faire filmer?
L’archive intéresse plutôt la diffusion de l’art que l’artiste lui même.
Ex : prestation de Catherine Zarcate à Aigues Mortes sur Salomon doit être captée et conservée quelque part.
Ex : Les archives de Paroles d’Alès sont conservées aux archives municipales
Ex: des archives de l’immigration ont été constituées hors financement en demandant à toutes les personnes volontaires, avec un référent par région, de chercher leurs archives pour les catégoriser.
En 1997, le CMLO a mis en place l’annuaire des acteurs de la LO; toutes ces informations peuvent se regrouper dans des références bibliographiques. L’analyse vient après. Au CMLO, nous conservons des courriers de Catherine Gendrin évoquant la guerre d’Algérie, son parti pris, la mise en lumière de son travail. Quelles sont les implications quand elle choisit de monter un spectacle sur l’Algérie?
Tous ces éclairages permettent de « reprendre » un grand conte, un spectacle (par quelqu’un d’autre)
L’archive n’est pas une simple sauvegarde (facile à faire); c’est une mise en valeur (en intelligence) du patrimoine. Elle est nécessaire à la critique.
Pour ce travail de critique, maintenant, nécessaire de monter des grilles de travail, lister les tâches à faire, les distribuer (à qui, comment).
Pour constituer cette grande collecte, un circuit est à organiser, adapter. Convaincre les institutions (DRAC) pour nous aider à convaincre (par ex) l’IMEC – Institut des Mémoires et des Editions Contemporaines à Caen.
Etaient présents : Véronique Aguilar, Danièle Rieu, Gille Crépin, Pascal Quéré, Anne Wang, Françoise Cadène, Magali Dupuy, Francine Beaudoin, Catherine Maure, Evelyne David, Marc Aubaret.
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